Fashion Illustrators

Redefining the High Art of Couture: Fashion Illustration Goes Modern
exhibition curated by Decue Wu
Tuesday, April 30, 2013
Fashion illustration has a long

history and has played a critical role
in the fashion industry. In the past,
fashion illustrations were the main
avenue for presenting the
glamorous fashion concepts of
designers. The illustrators added
their own elements into their
illustrations while showing the
designers vision. Meanwhile,
fashion illustrators also
documented the fashion show as
editorial illustrations for magazines,
newspapers and other publications.
Yves Saint Laurent drawing designs. 1957
Cover illustration by Benito, 1921, for Vogue, February 15, 1921.
Cover illustration by Benito, 1929, for Vogue, August 1929.
Exhibition Prcis:
Redefining the High Art of Couture: Fashion Illustration Goes Modern is an exhibition that asserts that fashion
illustration is a fine art. The focus is on the fashion illustrations of notable contemporary fashion illustrators,
including David Downton (1959), Gladys Perint Palmer, Tanya Ling (1966), Francois Berthoud (1961), Mats
Gustafson (1951), Zo Taylor (1982), Jean-Philippe Delhomme (1959) and Howard Tangye (1979).
Approximately two to four illustrations showcase the remarkable artistic talents of each artist. This exhibition is
meaningful because it dispels the idea that fashion illustration is merely a functional tool for a fashion house
one used either to instruct tailors or to be manipulated as a marketing-and-sales device in fashion magazines or
blogs. Instead, these exquisite drawings lift fashion illustration to its rightful placeas a high-art form worthy of
acquisition by a museum or a private collector. After viewing the exhibition, visitors will experience a deep
appreciation for the expansive and technical skills, the extraordinary attention to line and color, and the inspired
genius that give rise to a designers entire fashion collection.
Exhibition Themes
1. Different media and materials used in creating innovative
modern artwork by the illustrators are uncovered.
2. Fashion illustration has entered the modern age as noted

by its contemporary artistic style.
3. The relationship between actual pieces and the illustrations

are important considerations for illustrators.
1. Different media and materials

used in creating innovative
modern artwork by the
illustrators are uncovered.
Designers know that photographs can

never capture the fantastic details
depicted in a good illustration.
However, in order to adapt to the
accelerated technology, modern
fashion illustrations are increasingly
using digital tools while they seek new
media, such as collages of mixed
media and materials, paper-cut and
hand-drawn digital editing. These
innovations reveal how fashion
illustrations evolve with the times.
Fashion illustration by Josh Bristow, October 2012, Collage.
2. Fashion illustration as well has

entered the modern age as noted
by its contemporary artistic style.
For example, a growing trend in fashion
illustration is to add elements of graphic
design, abstractions, figurative images,
cubism, surrealism and minimalism into
the drawings. Lifestyle fashion
illustrations also have become popular in
periodicals, advertising campaigns and
fashion houses. Such a vital change has
brought fresh air to the industry.
Compared to the old-fashioned, traditional
fashion illustrations, which emphasized
silhouettes, modern illustrations evoke the
postmodern obsession with abstraction,
mystery, and a dearth of defined details.
Cubism and Fashion by Richard Martin, published by the
Metropolitan Museum of Art, New York, in conjunction with the
Cubism and Fashion Exhibition, December 10, 1998 through
March 14, 1999.
3. The relationship between

actual pieces and the
illustrations are important
considerations for illustrators.
The new techniques coupled with the
different artistic styles of modern
illustrations reflect important changes in
fashion illustration. In addition, the
changes demand more from the viewer,
since todays pieces are more
Homage to Braque by Yves Saint Laurent,

Spring/Summer 1988
imaginative and suggestive. Today,

fashion illustrators must increasingly
consider the commingling of function and
innovative story telling. Its a tall order,
but it reveals the talents, beauty and
importance of fashion illustrations.
Picasso-inspired long dress by Yves Saint Laurent,

January 22, 2002, Paris.
David Downton (1959)

English artist David Downton is a renowned fashion
illustrator. In 1984, he worked on a wide variety of
projects ranging from advertising and packaging to
illustrating fiction, cook books and, occasionally,
fashion.
In 1996, he was asked by the Financial Times to

draw his impressions of the fashions at the Paris
couture shows; since then, David has become
chiefly known as a fashion illustrator. Over the last
decade, David Downton has established a
reputation as one of the worlds leading fashion
artists. His fashion illustration career has charted
the runway and captured the backstage glamour of
couture. His drawings have graced the covers of
fashion publications as well.
David Downton
Gaultier, Paris Couture, 2002
Ink and watercolor on colored paper with acetate
overlay
David Downton has been an influential master of

fashion illustration since his first commission to
illustrate Paris couture in July 1996. His glamour
portraits of fashion capture the essence of
classically elegant and beautifully crafted couture. In
this image, Downton uses a bold, blood-red
backdrop and loose brush strokes to express the
signature glam-rock style of Jean Paul Gaultiers
collection.
David Downton
Erin OConnor at Mulberry, 2011
Ink and watercolor on colored paper with acetate
overlay
David Downton again proves his exceptional design

sensibility in this interesting composition, which
juxtaposes an angular and elegant female with the
rounded figure of a zebra-patterned background. The
modern, artistic style is suggested in the
monochromatic palette and the shapes, which lack
specific outlines, yet suggest something tangible. The
result is sensual, decadent, and provocativeall
hallmarks of high-end fashion.
David Downton
Versace, 2008
Ink and watercolor on colored paper with
acetate overlay
In this drawing, David Downtons loose,

visionary style radiates effortless elegance.
As David Downton says: Successful fashion
illustration is fluidity, mastery of the medium capturing a sense of the moment, layout and
use of space and most important of all,
strong drawing. You cannot be too good at
drawing.
David Downton
Valli, 2008
Ink and water color on colored paper and acetate
overlay
David Downtons fashion illustrations often depict the

backstage area, where the models are dressed and
made up, and in the breaks before they return to the
runway. Later, in the quiet and peace of his studio, he
finishes the rough and quick sketches with black ink,
gouache, and acrylic paint. Thus he successfully
translates the impressions into painting and illustration
by capturing the magic of a particular moment. In this
drawing, Downtons Valli celebrates the elegance of the
female body in stunningly lavish clothes. He particularly
emphasizes the elegant and proper gesture of the
model yet leaves ample space in his illustrations.
Gladys Perint Palmer
Palmer was born in Budapest, Hungary. She keeps

her age a secret. She studied fashion design at
Central Saint Martins School of Art in London. She
continued on at the Parsons School of Design in
New York, where she focused on fashion illustration,
and, in the early Eighties, was appointed Fashion
Editor of the San Francisco Examiner. She is an
esteemed illustrator, writer, and tutor, and she is the
Executive Director of Fashion at San Franciscos
Academy of Art.

Christian Lacroix July 7 2009 Les Arts Dcoratifs ,
2009
Watercolor on paper
The garment depicted in this Christian Lacroix 2009
collection required 200 hours to tailor and embellish.
The finished gown and headpiece were constructed
Christian Lacroix Lacroixs bridal haute
couture, 2009
of fine tweed and fleece fabrics. Gladys Perint

Palmer is known for creating loose, moveable,
extremely simple outlines that capture the imaginary
movement of the dress. Her famous sweeps of color
highlight the delicacy and exquisite drama of
Lacroix. She deliberately emphasizes the
extraordinary fantasy elements of the dress,
including the decorative accessories, pouffy lace
sleeve, and oversized headwear. The white spaces
provide a stark contrast to the colorful accents,
making them seem to pop off the paper.

Apologies to Matisse, 2011
Watercolor on paper
In this illustration, Henri Matisses famous painting

Dance inspires Gladys Perint Palmer. She cleverly
portrays five different runway pieces from different
designers from 1910 to 2012 by putting clothes on each
character in Matisses masterpiece. The pieces from left
to right are Jean-Louis Scherrer, Christian Lacroix,
Dolce & Gabbana, Karl Lagerfeld, Christian Dior. Gladys
Perint Palmer explains the reason for her inspiration: In
La Ronde from 1910 to 1990 to 2012, fashion is still
going round in circles. Jean-Louis Scherrer sold his
name; and Christian Lacroix lost his house anddesigns
for opera and now creates furniture; (Domenico)Dolce e
(Stefano) Gabbana are closing their secondary line, D &
G, next season; Karl Lagerfeld goes from strength to
strength, and Christian Dior fired John Galliano. With
apologies to Henri Matisse (1869 - 1954).
Tanya Ling (1966)

Tanya Ling is an artist who creates paintings and also works
as a designer and illustrator. Her first contemporary art

exhibition Bipasha Ghosh led to her first commission from
British Vogue; since then, Ling has engaged in a fashion-asart career throughout the world. Her commissions include
Harpers Bazaar and US Elle, among other authoritative
fashion journals. In 2011, over 50 for her paintings were
acquired by the Victoria and Albert Museum in London. Tanya
Ling studied fashion design and textiles at Central Saint
Martines before moving to Paris and working as a designer for
Dorothee Bis and then Christian Lacroix. In 2009, she was
appointed as the Creative Director of Veryta, a new Ready-toWear collection founded by Filippo Binaghi and Stefano Pilati
to support the Veryta Foundation. Meanwhile, she continues to
create fashion illustrations for fashion publications.
Tanya Ling
Nina Ricci Spring/Summer 2012, 2011
Mixed media on paper
42 x 29.7 cm
For Vogue.COM
In this piece, the shape and outline of the models

Nina Ricci Spring/Summer 2012
face resembles the artists Matisse and Modigliani in

their mask-like faces, which depict modern
figurative and cubist paintings. The brush strokes
and textures of the top seem to be painted heavily
by oil, so that the drawing evokes a sense of
fashion-as-fine-art. Ling once said her drawings are
inspired by everything from her daughter
Evangelines birthmark to Andy Warhols lesserknown Egg painting. The details at the top not only
show the mixed material of the actual clothes, but
also access the elegance of the 1960s as well as
the modernity of Nina Ricci.
Tanya Ling
Anna Sui Spring/Summer 2012, 2011
Acrylic paint and ink on paper
Anna Sui Spring/Summer 2012
42 x 29.7 cm
For Vogue.COM
The piece Anna Sui Spring/Summer 2012 is very

spontaneous and free. Ling uses mixed media of
acrylic and ink to depict the flowing yet fitted 1940sstyle dress, curly hair, and lips lacquered like a
Chinese cabinet. The look depicts the playful,
optimistic girl in Anna Sui. The runway of Anna Sui
S/S12 shows whimsy without lacking composure.
Ling adds a light pink background to convey an
active and vivacious feeling.
Howard Tangye (1979)

Australian artist Howard Tangye graduated from Central Saint
Martins School of Art in London in 1974, majoring in
womenswear fashion design; he later earned his postgraduate degree at Parsons School of Design in New York,
where he specialized in drawing.
Tangye is now Senior
Lecturer and Head of Womenswear in the BA Fashion

Program at Central Saint Martins. Tangye has worked with
some of the most renowned designers in the fashion world,
drawing collections for Christian Dior and John Galliano.
Howard Tangye
Comme des Garons Women's Spring 2012 Look
29, 2012
Mixed-Media
Comme des Garons Spring/Summer 2012
Features A Magazine Curated By Stephen Jones,

Issue Number 12.
Tangye creates striking portraits that suggests

movement and depth. In his drawings he emphsizes
the bodys movement with his use of twisted lines;
these exaggerated lines are comparable to Austrian
expressionist painter Egon Schiele (1890-1918). In
this illustration, Tangye depicts the rose detail of the
dress for Comme des Garons Women's Spring
2012 in an intriguing and precise way.
Howard Tangye
Emma in Chlo 2001, 2001
Vogue highlighted the influence of Aubrey Beardsley

(1872-1898) s work by featuring the Chlo original
printed with Beardsleyesque motifs in 1967. The
Victoria and Albert Museum held an exhibition of
Beardsleys work in 1966.
In this drawing, Tangye depicts a vintage Chlo

dress, which shows that he is a passionate believer
in the importance of life drawing supported by
continuous practice. His illustrations are infused
with a lyrical sensitivity. The position of the model
suggests a shy romanticism beyond what the viewer
is allowed to see. As Tangye said: Drawing is a bit
like falling in love, but unrequited.
Franois Berthoud (1961)

Franois Berthoud was born in Switzerland and
graduated with a degree in graphic design in Lausanne.
He is an internationally know fashion illustrator, who
works for the publishing company Cond Nast Italy in
Milan that edits, among others, the fashion magazines
Vogue Italia, LUoo Vogue, Vogue Pelle, Vanity Fair,
Harpers Bazaar. Berthoud cultivates a memorable and
expressive style that blends Pop Art and German
Expressionism.
Franois Berthoud
Frenche Woman, 1997
Oil based ink on paper
50 x 35 cm
Berthoud draws sophisticated figures with

transparent forms using a combination of graphicsarts and painterly techniques. He famously
incorporates his signature logo to sign his work a
mirror-inverted F. In this illustration, Berthoud uses
blue and red to express the high-end fashionable
sensitivity of a French woman.
Franois Berthoud
Skeleton Legs, 1998
Oil based ink on Paper, Monotype
70 x 50 cm
Berthouds illustrations unite Pop Art and graphical

styles. In this drawing, he conveys the shape of the
models skinny legs with inky lines, emphasizing the
high heels. The image is presented in X-ray from
using a monochromatic color scheme. The result is
starling, since he portrays only one part of the body
instead of the whole female figure. Images such as
this one captured in linocuts, drip paintings and
computer graphics accompany countless fashion
and campaigns by different designers.
Franois Berthoud
Panties, fashion by Dior, 2004
Monotype and Oil on Paper
Published in Numero (France), 2004
Some of Berthouds work exist in a field of tension

between fashion, accessories and a subtle eroticism.
Here he uses the unusual technique of wood-cutting, an
unusual choice for fashion illustration: I like engraving
fashion plates because it is terribly paradoxical, using
such hard instrument, giving weight to each gesture, to
render something as light, as evanescent as an article
of clothing. Bethouds work conveys facets of visual
seduction either explicit or implicit in a precise and
pleasing way. The erotic component plays a leading role
in this drawing, as Berthoud explains: Eroticism is a
constant theme, also in advertising. But in comparison
to photography: illustrations can offer more room for
imagination and interpretation.
Franois Berthoud
Dress by Martin Margiela, 2009
Mixed Technique
Martin Margiela, Fall/Winter 2009
Published in Madriz (Spain)
Berthoud has a very unique style when it

comes to the visual presentation of fashion,
shoes, bags, parfumes and accessories. He
also is known to depict his images in a
variety of media to capture different
perspetives. In this illustration, he
experiments with the post-surreal sense of
Belgium avant-garde designer Martin
Margiela. Berthoud reduces the photograph
to its visual essence in order to cature a
fresh vantage via a hand-drawn lines that
serve as base for cutting the lino plates.
Mats Gustafson (1951)

Swedish Fashion artist Mats Gustafson began his career
as an illustrator in the late 1970s, a time when editorial
illustration earned less attention as compared to
photography; in addition, he worked in watercolor, a
conceptual medium that had barely been explored. After
Gustafson graduated from Dramatiska Institutet in
Stockholm, he applied his graphic sensibility to the art of
stage design. This experience translated into illustration
when he began publishing his work in international
fashion publications. Gustafsons fashion and portrait
illustrations have been included in editorial publications
such as French and Italian Vogue, The New Yorker, and
Visionaire. His work has been exhibited internationally in
solo and group shows.
Mats Gustafson
Yohji Yamamoto Red, 2001
Watercolor on paper
38 x 28 cm
Published for German Vogue 2001/02
Gustafson, who mostly uses watercolor, pastel and

cut-out paperworks, expanded the possibilities of
fashion illustration and nearly single-handedly
reinvigorated the genre. In this drawing, Gustafson
uses watercolor to depict the elegant and subtly
expressive look of Yohji Yamamotos design.
Mats Gustafson
Yohji Yamamoto, 1997
Watercolor on paper
Published for Vogue Italia 1997
Gustafsons work is so vibrant and emotional that

most forget they are simple fashion illustrations. In
this drawing, he captures the basic shapes of Yohji
Yamamoto and reduces a modeled garment down
to its basic shape to frame its pure elegance.
Gustafson expressed the sense of simplicity as
high-fashion designer Yohji Yamamoto. The image
looks as if it is seen on a foggy day, which imparts
serenity.
Jean-Philippe Delhomme (1959)

French painter and illustrator Jean-Philippe Delhomme
has been working as an illustrator since the mid-80s.
One of his most celebrated works is the series Polaroids
de jeunes Filles, created for French Glamour in 1987. His
first fashion illustrations were published in British Vogue;
soon after, his work appeared in a collection of
publications, including Vogue Nippon, Vogue Paris and
House & Garden.
Jean-Philippe Delhomme
Campaign for Barneys, New York, 1994
Artists Collection
In the early 90s, New York department store

Barneys launched an advertising campaign which
highlighted Delhommes gouache illustrations. The
campaign was a huge success, extending to
billboards and animated television advertisements
across America. Although his fashion artwork seems
untraditional, he described fashion as glaringly
status-based, while elegance was understated,
refined and discreet. This approach suggests that
fashion should cater to real women and not to a
bunch of effete intellectuals.
Jean-Philippe Delhomme
Ungaro (Spring 2003) for Madame Figaro, January
2003
Gouache on paper
40 x 30 cm
Delhommes fashion illustrations are drawn by

gouache, captioned with comical text, to replace
fashion photography. His work has been
internationally exhibited. In this drawing, Delhomme
captures the moment of fashion runway show.
Zo Taylor(1982)
Zo Taylor is an artist/illustrator based in London. After
graduating from the Royal College of Art in 2009, she
was commissioned by Luella Bartley for whom she
created T-shirt graphics and illustrations for the recent
book Luellas Guide to English Style. Zoes illustrations
are featured in publications like AnOther Magazine,
Dazed&Confused, Le Gun or Naked Punch among
others. Taylor regularly submits fashion illustrations for
AnOther Magazine but has also worked with the likes of
The Guardian and London Fashion Week.
Zo Taylor
Celine and The Bodysuit S/S10, February, 2010
Chalk Pastels on newsprint paper
Taylors artwork combines austerity with the

femininity of 1950s Hollywood. As she explains:
Theres an element of melodrama in my drawings,
but they are also ambiguous. I try and give them a
dreamlike intensity.
Zo Taylor
Givenchy SS2010, January, 2010
Chalk Pastels on newsprint paper
Givenchy SS2010, January, 2010
Taylors textured drawings evoke the dark glamour

of film noir, featuring perplexed woman smoking
cigarettes by Givenchy. The composition of this
drawing shows three angles of the character
as
seen in the mirrors. Taylor describes about her

artwork: I draw atmospheric narrative-based
scenes that tend to have an ambiguous tension. I
also draw faces and Ive been doing a lot of fashion
illustrations lately. Some people have also
described my work as film noir-like.

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Redefining the High Art of Couture: Fashion Illustration Goes Modern

exhibition curated by Decue Wu

Tuesday, April 30, 2013

Fashion illustration has a long

Yves Saint Laurent drawing designs. 1957

Tuesday, April 30, 2013

Cover illustration by Benito, 1921, for Vogue, February 15, 1921.

Tuesday, April 30, 2013

Cover illustration by Benito, 1929, for Vogue, August 1929.

Tuesday, April 30, 2013

2. Fashion illustration has entered the modern age as noted

3. The relationship between actual pieces and the illustrations

Tuesday, April 30, 2013

1. Different media and materials

Designers know that photographs can

Tuesday, April 30, 2013

2. Fashion illustration as well has

Tuesday, April 30, 2013

3. The relationship between

Homage to Braque by Yves Saint Laurent,

imaginative and suggestive. Today,

Picasso-inspired long dress by Yves Saint Laurent,

Tuesday, April 30, 2013

David Downton (1959)

In 1996, he was asked by the Financial Times to

Tuesday, April 30, 2013

David Downton has been an influential master of

Tuesday, April 30, 2013

David Downton again proves his exceptional design

Tuesday, April 30, 2013

In this drawing, David Downtons loose,

Tuesday, April 30, 2013

David Downtons fashion illustrations often depict the

Tuesday, April 30, 2013

Gladys Perint Palmer

Palmer was born in Budapest, Hungary. She keeps

Tuesday, April 30, 2013

Gladys Perint Palmer

of fine tweed and fleece fabrics. Gladys Perint

Tuesday, April 30, 2013

Gladys Perint Palmer

In this illustration, Henri Matisses famous painting

Tanya Ling (1966)

as a designer and illustrator. Her first contemporary art

Tuesday, April 30, 2013

In this piece, the shape and outline of the models

face resembles the artists Matisse and Modigliani in

Tuesday, April 30, 2013

The piece Anna Sui Spring/Summer 2012 is very

Tuesday, April 30, 2013

Howard Tangye (1979)

Tangye is now Senior

Lecturer and Head of Womenswear in the BA Fashion

Tuesday, April 30, 2013

Features A Magazine Curated By Stephen Jones,

Tangye creates striking portraits that suggests

Tuesday, April 30, 2013

Vogue highlighted the influence of Aubrey Beardsley

In this drawing, Tangye depicts a vintage Chlo

Tuesday, April 30, 2013

Franois Berthoud (1961)

Tuesday, April 30, 2013

Berthoud draws sophisticated figures with

Tuesday, April 30, 2013